Abstract The Panorama was conceived in 1787 by Robert Barker, who created a 360-degree immersive experience using painted scenes, housed within rotundas. Debatably, the panorama created immersive experiences to allow the simulation of travel and experiences in their suggested settings. However, technological advancements in the late 19th century saw the rise of cinematography which rendered the Panorama and its descendants obsolete. The cinema provides us with a medium which we still use today, thus proving its significance at the time of creation. Although heavily overshadowed, the legacy of the Panorama did not diminish, with several iterations preserved around the world. Through the digital age, the format of the Panorama has been revived, with an aim to prove how recreating historical scenes or wonders of the world can arguably draw a new experience comparable to that of the cinema. Austrian architect Yadegar Asisi has recently constructed new Panoramas around Europe, housed within gas storage containers. He uses multiple techniques but most notably digital manipulation through photocollages. Is it possible that the Panorama has been successfully contemporised thus enhancing the illusion of the simulation of travel through the digital age, or does it present us with a new experience altogether? To consider this I visited and analysed an original; the Panorama Mesdag, located in The Hague, Netherlands, and one of Asisi’s contemporary creations; the Panorama XXL, located in Rouen, France. The Panorama Mesdag is remarkable, having been preserved and restored beautifully. The illusion was powerful and simple, an experience which could only be improved using high definition imagery. The Panorama XXL presented a great vision, idea and recreation but with a completely contrasting experience. Asisi uses the panoramic format to present a theatrical display which aims to create or restore emotional connections between the viewer and image. The lack of obstacles or scenic framing arguably connects the viewer closely to the image to able to observe every detail and at a greater depth, therefore allowing Asisi to revive the original format to take viewers away from video displaying technology. Despite Asisi’s success, the panoramas ability to keep current may provide a problem, with immersive technology such as Virtual Reality offering accessible and versatile content in a huge global market.
Contents
1.0 Introduction 1.1 Historical and Cultural context 1.2 Dissertation outline
1 2 4
2.0 2.1 2.2 2.3 2.4
The history of the Panorama Conception Development Variations Decline
5 6 11 16 21
3.0 3.1 3.2 3.3
The Digital Revolution The legacy of the Panorama New immersive technology The revival of the Panorama
23 24 28 34
4.0 4.1 4.2 4.3 4.4
Old meets new Investigation The Panorama Mesdag The Panorama XXL A comparison
41 42 44 48 53
5.0 Conclusion
Bibliography
55 57
View from the Staircase & the Upper Part of the Pavilion in the Colosseum, Regent’s Park (1829), painted by Rudolph Ackermann.
Introduction 1.0
Introduction 1.0
Historical and cultural context
1.1
The development and differences in experiences of leisure and travel between the present day and the eighteenth century are most definitely revolutionary. Examples of leisure activities, specifically in England, involved visiting theatres (fig.1), fairs, pleasure gardens (fig.2), blood sports and exhibitions where families and friends could participate and interact in the available activities together. The eighteenth century was considered to be the great age of the theatre, with many large auditoriums built to house huge crowds of both the rich and poor. However, there was not much respect for the medium, with audiences considered to be dangerous and loud, often interrupting the plays with chatter or by throwing food at the actors. (Black, 2008, p117-118) Despite these rare experiences of leisure, a lot of social aspects of leisure were conducted within homes, acting as a cost effective, peaceful setting in comparison. (Heller, 2010, p624) Travelling far from one’s home to partake in leisure or for any other activity was difficult (fig.3); with transport in Britain extremely limited until the beginning of the nineteenth century. The facility to travel depended on class and income, with walking being the most common mode of transport used by the working class (Bagwell and Lyth, 2006, p38)
1 - An example of a theatre in the early nineteenth century Sadler’s Wells Theatre. (1810).
2 - An example of a pleasure garden in the eighteenth century Ranelagh Gardens (1751)
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Introduction 1.0
The emergence of the panorama in the late eighteenth century took London by storm. Widely referenced to as a spectacle of its time, the Panorama introduced a new way to experience and events, cityscapes and landscapes from foreign countries; a prospect that was unheard of due to the gruelling nature of travel and the lack of wider interest in art and literature at the time.
3 - A map depicting the time it took to travel from London to locations in the UK.
The panorama was conceived in 1787 by Robert Barker, who through sketching and painting, would create large 360-degree immersive experience, housed within purposebuilt rotundas (fig. 4.) It could be suggested that whilst the panoramas illusionistic portrayals of the world encouraged the desire to travel and explore, it similarly replaced and satisfied the desire, by creating a new luxury of comfort within homely surroundings. Through several abundant studies on the history of the panorama, it is clear to see the mediums influence on society in context, with several developments invented to enhance the immersive experience. However, after the mediums decline as a result of the cinema, there are no clearer assessments towards the presence and influence of the panorama in the present day, especially regarding its influence on experiences and digital technology that we use on a daily basis. It could arguably be interesting to find a conceivable link and to explore the possibilities and limitations of a contemporary revival of the panorama and understand its effectivity in modern day society.
4 - A cross section through Robert Barker’s Panorama Rotunda at Leicester Square. See p8 for larger image.
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Introduction 1.0
Disertation outline
1.2
Reality will be assessed against the ability to immerse and create illusions. In doing so, we will see if new deceptive parallel realities have been formed as a result.
This dissertation will explore and dissect all aspects of the original panorama, with a view to understand its downturn in historical context, but then also its preservation and the ways in which the medium has been contemporised. Through my key sources, I explain the evolution of the panorama where each of its successors or iterations aim to increase the plausibility of the illusion and immersion portrayed. By looking at examples such as the Moving panorama, Diorama, Cineorama and the Mareorama, it will become clear as to how new experiences were created by an intrigue to discover and explore caused by the immersive nature of the panorama. Despite the success, it must also be noted that the medium took a rapid decline after the introduction of the cinema, which replaced most instances of panoramas around the world. The downfall will be pinpointed and examined.
Lastly, it becomes crucial to the study to examine modern day instances of the panorama, to further understand what their purposes are, how they have been constructed and their reception. It must be understood how much of the original medium is used within the contemporary revivals to understand how such an experience can continue to be produced today and have popularity despite the modern persons reliance on digital technology. To consider this, I will visit a contemporary panorama and a restored original panorama. This will allow me to understand aspects of illusion, immersion and spatiality conducted within my research, furthermore, I will have first-hand research to add validity in my assessment of how aspects of the panorama have been contemporised and the mediums overall influence into the present day.
After grasping the main aspects of what made the panorama a phenomenon in the nineteenth century, it is important to apply these to the present day to comprehend how we still interact with immersive experiences, mainly in the form of entertainment. By doing so, it could be suggested that we can draw parallels from significant features of the panorama that have influenced the way we experience entertainment today, thus noting its importance in the present day. To explore this, technologies such as the IMAX, Cinema 4DX, ScreenX and Virtual
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The history of the panorama 2.0
The history of the panorama 2.0
Conception
2.1
attempted to deliver all features of the panorama at once and therefore could not capture the same experience (Oetterman, 1997, p99.) Having experience from teaching the applications of accurate perspective, Barker required a device to record several sketches whilst rotating around a single spot and in doing so, creating a ‘circular perspective’. With his acquaintances and his son Henry, Barker was able to create a frame which could swivel around a fixed point, thus dividing up each view of the horizon equally. Therefore, each partial view could be sketched and then collated on a curved canvas to create an “unbroken horizon” (Grau, 2007, p56), resulting in the beginning of an unprecedented illusion.
The original panorama was patented by Irishman Robert Barker in 1787. Barker initially coined the invention ‘La nature a coup d’œil’ (Grau, 2007, p56) which means ‘Nature at a glance’. However, it was renamed as the neologism ‘panorama’, deriving from the Greek words for ‘view’ and ‘all’ (Hyde, 1988, p20.) It becomes clear that through the early naming process, Barker had the intention to create an immersive environment based on nature, which eludes towards the idea of simulating reality within the invention. The ability to create a believable immersive environment through painting on a huge scale was what made Barker’s invention unique, given that the forerunning curved paintings had not
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The history of the panorama 2.0
Barker and his son attempted another 180-degree panorama, this time of a view of London from Albion Mills, seen in figure 6. Although now to be considered to be in its ‘pre-immersive phase’ Barker’s work began to gain broader attention, especially from the public (ibid, p103.) It could be said that with every iteration of the medium and increase in funding, Barker could expand upon the basis of his original plans to not only display his visions with more clarity, but to also heighten the illusion every time. The success garnered from the view of London allowed him to expand the painting from 180 degrees to 360 degrees and from using candles as a light source to utilising daylight, thus igniting the moves towards a deeper immersion within a building purpose-built to house the panorama.
Barker’s ability to proceed with the project depended on funding, which he was able to pursue through Lord Elcho, having been convinced by Barker’s idea and enthusiasm and the possibility that such techniques could be used within military surveys (ibid, p57.) Barker’s first panorama was a 21-meter 180-degree view of Edinburgh, figure 5, which was displayed in Lord Elcho’s castle, in March 1789. The public response was subdued, however, Barker had achieved success in attracting the attention of influential figures, with Sir Joshua Reynolds, President of the Royal Academy stating “ I find I was in error in supposing your invention could never succeed, for the present exhibition proves it to be capable of producing effects and representing nature in a manner far superior to the limited scale of picture in general” (Oetterman, 1997, p101.)
5Panorama of Edinburgh, Robert Barker (1789).
6London from Albion Hills, Robert Barker (1792).
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7 - A cross section through Robert Barker’s Panorama rotunda at Leicester Square
view what was intended. This also made it impossible to view the whole canvas at once, which could be considered crucial in achieving the illusion of immersion; a boundless viewing experience. Sky lights were used to create a natural light source, adding much needed depth to the experience as a scene, normally hidden by translucent curtains to allow light to flood through. It provided a stark contrast upon arrival through the dark passage.
In 1793, Barker leased a vacant lot in Leicester Square. Designed by architect Robert Mitchell, the first permanent rotunda was erected and named the Panorama of London (ibid, p103.) The building’s unique spatial formation would become the blueprint for all other panoramic exhibiting buildings in the nineteenth century. Figure 7 allows us to understand the experience of the user; after having entered up through a dark stairway passage; either on the right for the main exhibit or through the tall staircase on the left for the smaller exhibit. Spectators appear in the middle of the panorama, surrounded by the 930sqm illusionistic painting which was fixed to the interior of the building. A balustrade which framed the viewing platform kept the viewers within the limits of the painting, which allowed them to only
With the new 360-degree view of London from Albion Mills on exhibition, the Panorama of London drew “considerable success” and eventually drew the attention of the Royal Family, who came to visit in May 1794 (ibid, p105.) At the time of their visit, the panorama “Grand Fleet at Spithead in 1791” was on display. The viewing platform had been fitted out
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The history of the panorama 2.0
to resemble the “poop deck of a frigate” thus aiding towards Queen Charlotte feeling seasick at the sight of so much water (ibid, p105.) The idea of installing the viewer within the scene using props was a theme that was heavily explored, along with false terrains which lead up to the paintings. Barker himself did not organise where the panoramas would be exhibited; once sold to new owners, the panoramas would be shown around Europe, causing a flux in interest and a new generation of panoramas in France, where Barker’s patent was overseen. This caused the value of older panoramas to fall and led to Barker painting over his old works (ibid, p105), arguably exhibiting the beginning of the limits of the medium.
8 - A wood engraving of spectators viewing the Panorama of Constantinople (1882) showing a similar instance as to what Queen Charlotte would have experienced.
Barker’s invention quickly became a favourite medium for art, education, political propaganda, and entertainment (Grau, 2007, P65.) In 1798, the panorama “succeeded in linking itself with patriotism and national pride” (Oetterman, 1997, p107) through the exhibit of the “Battle of the Nile” by Barker (Fig. 9.) The battle was considered the true sensation of the exhibits at the Leicester square panorama, depicting the decisive encounter in Abukir Bay at the mouth of the Nile between the French fleet of Napoleon and the Royal Navy under command of Lord Nelson. An account from a German correspondent of ‘Journal London und Paris’ writes that the experience left him breathless; “As soon as you enter, a shiver runs down your spine. The darkness of night is all around, illuminated only by burning ships and cannon fire, and all so deceptively real…that you can imagine you can see out to sea in one direction and the distant coastline in the other” (ibid, p107.) Nelson himself was perfectly aware of the impact; with Barker’s son Henry
9 - A print of a guide sheet for the Battle of the Nile panorama exhibited at the Leicester Square panorama (1800).
accounting that Lord Nelson “took me by the hand, saying he was indebted to me for keeping up the fame of his victory in the Battle of the Nile a year longer than it would otherwise have lasted in the public estimation” (Grau, 2007, P65.)
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The history of the panorama 2.0
may have included crude outlines of the work, but Barker’s booklets included detailed prints with numbered objects of interests. The move strengthens the motives of the Barker’s to create educational and accurate depictions of the views they were recreating, having at points been criticised for “deviating from nature to create a more attractive view.” According to Oetterman, the Leicester Square panorama never “resorted to the flashy novelties or gimmicks” used by others to attract the public (ibid, p36.) Success for newly advertised panoramas heavily relied on testimonies for accuracy, with Henry Aston Barker being able to prove the validity of his works through his various sketches and paintings from their travels.
After the peak of their success, the Barkers took measures to ensure viewers were not enticed by newer exhibits, with Robert stating that he would “spare no expense to bring forward scenes of useful information, as well as gratifying amusement” with an aim to bring the public the “most interesting views and the most noticed cities in Europe” (Oetterman, 1997, p36.) They delivered more than they promised, with the first foreign city exhibited being views of Constantinople, displayed in 1801. Robert Barker aimed to increase the educational value by selling descriptive booklets alongside the exhibitions; these included historical and cultural information, as well as a “wealth of interesting anecdotes.” Earlier leaflets
10 - An etching of Henry Aston Barker’s views of Constantinople which was “drawn on the spot.” C Tomkins (1813)
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The history of the panorama 2.0
Development
2.2
and named the Colosseum due to its “colossal proportions.” (fig. 11)
One of the most ambitious panoramic buildings was the Regent’s Park Colosseum, opened in 1829 by Thomas Hornor. Among the panoramas exhibited within, the most successful was ‘London from the summit of St Paul’s Cathedral’ Working as a surveyor, Hornor developed a technique called “panoramic chorometry”, which allowed him to transform his map drawings into hybrid bird’s-eye views, allowing viewers to easily delineate between buildings in drawings (Hyde, 1988, p80.) Hornor initially took up the opportunity to sketch the necessary views from St Paul’s when wooden scaffolding was erected to replace the Ball and Cross; he gained permission to construct a platform on which he would create his small studio. Utilising a rotary frame, Hornor amassed 280 sketches of the summit. Oetterman states that “Hornor’s obsession was not that of a nature lover but of an encyclopaedia author…it was to be a perfect catalog of everything visible” (Oetterman, 1997, p134.) The rotunda, designed by architect Decimus Burton, was modelled on the Pantheon in Rome
After various difficulties with finances and teams of painters, Hornor opened the Colosseum with the main panorama complete, but the rest of the exhibits in the museum were unfinished. To reach the observation platform through the modern cooling tower (fig. 12 & 14), viewers would either take one of two staircases, or the ‘ascending room’ dubbed London’s first hydraulic lift, proving popular with “high society” (Hyde, 1988, p84.) Below the platform, the dome of St Paul’s was created using an ‘apron like structure’ seen in figure 12. The level of immersion was absolute and disrupted the relationship between the viewer and the painting, being unable to see everything at the same time and in instances were provided binoculars to observe every possible detail. (fig. 13) It was not unusual for spectators to believe they were experiencing the real view, which left many feeling disorientated and sick at the prospect (Oleksijczuk, 2011.) The sheer scale of the painting allowed Hornor to portray larger fields of vision than Barker. Similarly, to the Leicester square panorama, the Colosseum featured a very large skylight, allowing for natural daylight to flood into the painting. The sky was painted on a plaster dome and the landscape hung on a 2200 square meter canvas. The addition of the fresh air circulation at the very top appeased to another sense to seal he legitimacy of the illusion which Barker also did not attempt (Comment, p28, 2003.)
11 - London Colosseum, Regent’s Park. Drawn by Roberts and engraved by Cox in steel (1838)
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The history of the panorama 2.0
12 - A cross section through Robert Barker’s Panorama rotunda at Leicester Square
satisfactory, but seen as art, the painting lacks the standpoint of a painter that is achieved by joining light and shadow” (Oetterman, 1997, p137.) Oetterman argues that as a result, Hornor’s neglect for aerial perspective and desire to display more than the human eye could see rendered his panorama “more precise and complete than the real London could ever be.” Notably, this was a characteristic of many panoramic artists at the time, leading one to draw the conclusion that people had the right to believe what they were viewing was deceiving.
The idea of exhibiting the experience of familiar buildings at an unfamiliar height was successful in principle, wetting the appetite for more visual information of the world from the upper and middle classes, however, Hornor’s initial aims for accuracy were skewed by his needs to increase the field of view within his work. His work arguably becomes more of an inventory and not the true depiction. Johann David Passavant, a German painter and Art historian notes that Hornor’s panorama “is very accurately painted and creates the desired illusion; in this respect it is most
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The history of the panorama 2.0
13 - View from the Staircase & the Upper Part of the Pavilion in the Colosseum, Regent’s Park (1829), painted by Rudolph Ackermann.
14 -“The geometrical Ascent to the Galleries in the Colosseum, Regent’s Park” (1829) painted by Rudolph Ackermann.
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The history of the panorama 2.0
Another incredibly successful panorama was “The Battle of Sedan” (Sedan panorama) by Anton von Werner, opened in 1883. At the time, around Europe, the panorama had fallen out of favour and become ‘unfashionable’ as the public moved towards bigger displays of motion with the Moving Panorama and other new mediums. However, Germany’s interest in the panorama fared a revival of interest with the production of panoramas depicting Germany’s victories in battle (Oetterman, 1997, p235.)
15 - Cross section of the rotunda of the Sedan panorama designed by Ende and Bockermann (1883)
The design of the rotunda housing the Battle of Sedan featured many technological advancements such as “Arc lights” produced by Siemens and Halske which offered “the first satisfactory solution to the difficult problem of lighting during the evening hours” and an observation ring with a revolving platform (fig. 15) to “keep spectators from remaining too long in one spot (Oetterman, 1997, p259.) Grau argues that the revolving platform presents the “principle of releasing the observer from an inner distance and conscious attitude and immersing him in a virtual otherness” was quite the innovation for the nineteenth century panorama, but as a result, was a principle perfected by the
cinema (Grau, 2007, p108.) At the end of the nineteenth century, the dimensions for the panorama had been standardised at 2000 square meters for ease of transferability and exports. With visitors entering from a dark passage leading to the viewing platform, the light was heavily reflected by the canvas, giving the illusion of real sunlight to spectators, with the “virtual battle succeeding in occupying the spectators gaze by its very luminosity” (ibid, p97.) The use of a faux terrain created a three-dimensional extension of the one-dimensional image and “pulled the observer into the depths of the image space” thus removing any virtual boundaries.
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The history of the panorama 2.0
its elements of immersion and “suspend the ability to ‘relativise’ perception” drew the short-lived revitalisation of the panorama and the 20 year success of the Sedan panorama. The quality of the painting was close to photorealistic and the faux terrain created an indistinguishable boundary to the naked eye, as stated by a correspondent for the Militarzeitung “the transition from reality to the painting is everywhere so cunningly contrived that only the practised eye can tell where the painting begins’’ (Grau, 2007, p106.)
The painting itself (fig. 16) depicted the encounter of the Franco-Prussian war, leading to the capture of Napoleon III and the French capitulation. Von Werner and his acquaintances travelled to the site of battle in secrecy to appoint an observation point and study colours and the lighting conditions, with the utmost intention to ensure accuracy (Oetterman, 1997, p262.) The painting represents contemporary knowledge of physiology of the sense of perception and of technical skill in the art of illusion, as instructed by the German scientist Hermann von Helmholtz; the use of optical deception. Helmholtz states “the artistic representation calls up in us an idea of this object, full of life and strongly perceived by the senses, as though the object were really in front of us” (Grau, 2007, p105.) In response, Grau states that as a result the Sedan panorama created a strong emotional patriotic response, with the immersion coercing the observers into sharing the perspective of the Prussians at a “moment of national importance”, with the Nationalzeitung commenting “One feels with these grim warriors, and what moved their souls at that time, continues to shake our own” (ibid, p108.) The ability to be captured by the battle scene with
The Sedan panorama’s success did not come without criticism. Melodramatic and engineered elements were said to enhance the reputations of political, aristocratic and military elite of the Reich, to win more observers over to back their political aims (ibid, p100.) The importance of accuracy and education was outweighed by the importance of propaganda, rendering Von Werner’s work to be contradictory, with Grau stating the painting “went far beyond the content of the written source material and the fragmentary and subjective reports of eyewitnesses; moreover, it bore no resemblance to the original sketches” (ibid, p118.)
16 - The Battle of Sedan panorama by Anton von Werner. (1883)
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The history of the panorama 2.0
In contrast, leading art critic John Ruskin recognised the panorama as a tool for education, stating the “panorama in Leicester Square was an educational institution of the highest and purest value, and ought to have been supported by the government as one of the most beneficial school instruments in London” (ibid, p64.) A report published by a French institute which for overlooked culture commended the panoramas “alliance of art and science” in this scene referring to Barker’s original development of the circular perspective. The report, conducted by Antoine Dufourny, states “as soon as the eye is accustomed to the light inside (the panorama) and forgets the colours of nature, the painting produces imperceptibly its effect; the longer one contemplates it, the less one is persuaded that that which one sees is merely a simple illusion’’ (ibid, p64.)
As seen by the works of Hornor and von Werner, the status of the panorama as an art form was controversial, and its values as an accurate and educational medium were questionable. A critic of the panorama, Eberhard, wrote the ‘Handbuch der Asthetik’ in 1805 (cited in Grau, 2007, p63) and claimed the deception of the panorama lay with allowing people to belief the illusion of nature is better than it actually was. Eberhard states “the similarity of a copy to true nature cannot be any greater” which results potentially deceives the spectator with regards to the legitimacy of appearance. Eberhard describes the general experience as “a trap in a contradictory world” and that it will send me “dreaming beyond his will” thus leaving the cause of his denunciation towards the inability to escape, feeling a different sense of entrapment.
Variations
2.3
the panorama introduced a new appeal to the senses, with a heightened power of illusion. Effectively, ideas close to being considered novelties that Barker aimed to avoid would allow the panorama to live on and captivate crowds when the stationary image alone was no longer capable.
Regardless of its controversy, the panoramic medium revolutionised the representation and experience of the image through innovation of traditional practices and new illusionistic landscape spaces. But over time, these innovations became stale. The longer the duration of time that the observer is exposed to the illusion, the higher the chance that its effectiveness decreases (ibid, p152), leaving one receptive to artistic media techniques. Hyde states “the devices employed by the panoramists for the purpose of increasing interest and information in their works aggravated the problem of the absence of motion” (Hyde, 1988, p32.) However, each ‘variation’ of
17 - A plan of the Regent’s park Diorama, showing the relationship of the two screens and the rotation amphitheatre. (1825)
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18 - A cross section through the Regent’s park Diorama, showing the rotating amphitheatre mechanism and the intrcacies of the screen set up. (1824)
rotating ‘viewing’ aspect created a trend, one seen with the Sedan panorama, however this early instance required observers to be restrained to their seats, to allow the audience as a whole to be directed to the transforming images and not give them free reign to see both screens simultaneously. To provide a strong contrast between the dioramic effect and the illuminated displays, the auditorium was required to be very dark (Huhtamo, 2013, p144.) Regardless of the newly created atmosphere, the Diorama neutralised the panorama’s principles of being all embracing; the environment it created was no longer a 360-degree view and was controlled by the movement of the rotating amphitheatre. Observers stated that “you could not, by any possible sketch of fancy, or abstraction of mind, imagine yourself transported from the one [screen] to the other” (ibid, p145) suggesting that any attempt at simulating the transition between scenes was a failure, hinting at the lack of illusion within the medium altogether.
One of the main problems of the original panorama was its “static quality” which lead to some artists removing human figure and animals from their works altogether to avoid disrupting the illusion (Oetterman, 1997, p70.) The Diorama was the first medium to address the issues of the lack of realism, through utilising “transparencies”; paintings that were tactically lit from behind. The careful manipulation of light combined with the singing of choirs created a new, lively atmosphere. The transition of lighting effects transformed the scene on the display screens, simulating weather and different times of the day. Invented by French painters Charles-Marie Bouton and Louis Daguerre, their most successful instance was the Regent’s Park Diorama (fig. 17 & 18), which opened in 1823, before the Regent’s park Colosseum. The building used a basic structure, with two different double-sided painted canvases pitched between a rotating amphitheatre, housing 200 people. The
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19 - The Moving panorama, John Banvard (1848)
Although adoptive of the same name and principle, the moving panorama very different to the panorama, no longer being conformed to large purpose-built rotundas. The successful nature of the moving panorama relied on its ability to be transported and constructed easily, drawing in crowds in different cities consistently, having utilised community halls and churches for example (Huhtamo, 2013, p8) It did indeed also produce the natural progression to the panorama in introducing motion, which in way simulated travel similarly to train travel, allowing the observer to potentially bridge the gap between virtual travel and reality. The presentations became storytelling, emulating the spirit of the theatre through the long-scrolled paintings, acting as a “primitive cinema” (ibid, p34.)
Oetterman states the circular painting was “visually inadequate” to Americans, who yearned for a medium which grasped the vast dimensions of their country, which could not be resolved by “climbing to an elevated point and surveying the horizon” (Oetterman, 1997, p323.) The “Moving Panorama” (fig. 19) soon followed, as a way to portray the speed of travel within the painted landscapes. The new medium, conceived by theatre artist Thomas Grieve in the 1820s, consisted of a long roll painting which was moved across an opening, on display to spectators in an auditorium, using a mechanical cranking system. A lecturer and music supplemented the presentation, which lasted around 90 minutes (Huhtamo, 2013, p6.) In America, portrait painter John Banvard exhibited mostly river panoramas, such as the Mississippi, allowing the observers to ‘explore’ aspects of the country that they had craved. However, Thomas Grieve had initially used the concept to depict voyages in backing scenes of the theatre (Hyde, 1988, p131.)
From the 1850s onwards, the moving panoramas developed new levels of sophistication. Through the use of “vehicular amplification” (Huhtamo, 2013, p309), these new mediums
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further argues this, using examples of the postcards (fig. 21) from the experience, with observers paying no interest to the scenery (ibid, p315.) The costs to transport the machinery or even initially build the medium made rendered itself obsolete despite the success it had at the Universal exposition.
enhanced the experience of a false reality by turning the auditoriums into a train, boat or hot air balloons, which acted as stage framing. With these new physical staging aspects, the observers could interact with, the power of the illusion prevents the user from conscious reflection, allowing the immersion to captivate their attention. At the Universal exposition of 1900, the Maréorama or Illusion d’un Voyage en Mer (Illusion of a sea cruise) was the invention of two huge moving panoramas surrounding a cruise ship deck viewing platform, as seen in figure 20. Designed by painter Hugo d’Alesi, he successfully took on the huge task of not only smoothly unrolling 760 meters of paintings using a set of motors, but also to create a realistic double swinging movement to the whole platform to simulate the voyage. Viewers stated they did indeed experience a believable motion and could feel the roll and pitch of the ship making a sea voyage around countless cities in Europe (Oetterman, 1997, p179.) However, others stated that the motion made them seasick (Huhtamo, 2013, p317.) Spectators were free to stroll, sit, observe and take in the sea breeze, with aims to simulate authenticity. Different times of the day and changes in weather were also simulated, utilising lighting and sound effects.
20 - The Maréorama, Hugo d’Alesi. The image portrays the relationship of the moving panorama around the ship viewing platform (1900).
Overall, the Maréorama presented a combination of key ingredients from its predecessors; the circular or surrounding painting, the movement of the painting and the use of interaction and staging. It was a multisensory success, but also a partial disappointment, with accounts lacking reviews of the actual painting and more focus laid upon the fascination with the ship deck and its motion. Huhtamo
21 - Postcard from the Maréorama. Souvenirs used to encourage the tourist experience. Example shows observers paying a lack of attention to the paintings (1900).
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the use of projection not fully perfected, many of the films were compromised by filming angles and compilation errors, thus ruining the illusion of flying (ibid, p318.) It can therefore be said that the constant attempts to create the ‘next panorama’ instilled a disbelief in the power of the medium in the minds of the public. Huhtamo states the “vehicular amplification” was enough to distract observers from the canvases of painting or projections, but regardless, the panoramic ‘offshoots’ did not live up to their potentials. As a result, Oetterman states “the era of the panorama was over for good; the publics attention turned to the single-projector cinema” (Oetterman, 1997, p85.)
Another popular attraction at the 1900 Universal exposition saw the first integration of the motion picture within a panoramic format. Designed by Raoul Grimoin-Sanson, the medium utilised the circular format of the original panorama, but what led its innovation was the use of projected films to simulate an aerial voyage on a hot air balloon (fig. 22.) With the central viewing platform designed as the carriage of a hot air balloon, it was much larger in scale than actual carriages with the aim to fit hundreds of observers in at once. Ten projectors assembled in a circle were installed underneath the viewing platform. Despite its ambitions, once again it was another invention with problems. With
22 - Illustration of Raoul Grimoin-Sanson’s Cinéorama. The projectors under the viewing platform display varied film clips from actual baloon voyages. (1900)
20
The history of the panorama 2.0
Decline
2.4
The rotundas or buildings designed to display the panoramas were initially quite simple, having become wooden structures which would tour towns, but these developed into purpose-built auditoriums utilising many immersive devices; the Regent’s park diorama, the Sedan panorama and the Cineorama as examples. The costs of maintaining or replicating these buildings made the longevity of the medium unfeasible, especially with the doubt caused by the unconvincing immersive properties of all instances. Regardless, with all examples, as time passed, crowds moved on to the next innovative medium, leaving each instance with no choice other than to close or be transformed into a different leisure venue.
The panorama and its variations went through peaks and troughs of success through a period of around 100 years from Barker’s initial patent. The period presented many new innovations towards the immersive experience, however there were multiple factors that led the mediums to their inevitable demises. As the demand for panoramas increased, more were produced to be displayed and exported around the world, but this was not a quick process and required a dedicated team of skilled painters and funding. Ultimately, this led to the same panoramas being displayed around the world several times and therefore wearing out rather quickly. On the arrival of the Panorama of London in Leipzig in 1792, a local newspaper remarked “The painting is so worn out and pale and all the sections so indistinct and confused that the polite Saxons must muster all their tolerance and goodwill to recognize this sorry sight as being that proclaimed by the pompous advertisements” (Grau, 2007, p68) Grau states “the medium of the panorama functioned in the same way as film, slides, or computer programs, that is, only in conjunction with its presentation apparatus. Its enormous dimensions were prohibitive for disposal on the private art market, and this sealed its fate. Its scale also made integration into another medium or a museum impossible. Museums did not have the prerequisites for displaying panoramas, and the few that have survived have done so in their rotundas” (ibid, p127)
The power of illusion throughout the variations presented many successes, but also many downfalls, the downfalls of which led to the next generation of innovations. With the initial circular panorama, the longer one spent inside the panorama, the clearer it was to make out that the surroundings were indeed painted, with the initial contrast of dark passage to heavily lighting having the ability to cloud perception (ibid, p98) The Panorama from the summit of St Pauls faced the problem of neglecting the correct aerial perspective, with intentions to include nearly every building possible in the form of an inventory, thus demeaning the illusion. The Sedan panorama suffered from the use of melodramatic and engineered elements to falsify the
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The history of the panorama 2.0
23 - Footage from Arrive´e d’un train en gare le ciotat (1897)
For the first time, the camera lens angle corresponded with the audience’s line of vision, creating a much more realistic and relatable experience of perception. This also depicts that the cinema was also successful on an emotional level, with the film directors possessing the ability to create a second reality in which new scenes are cast and develop at a much quicker turnover than previously attempted through other media. The cinema solved multiple problems of previous simulacrum by integrating elements of the panorama in a much more synchronised manner enabling the observers eyes and ears at a real-time speed. As panorama rotundas were demolished, cinemas populated the land they once occupied (Neumann, 2008, p51.)
retelling of the events, as well as the use of a large team of painters, which created an image with incoherent styles at points. Overall, the power of illusion faded with the growth of ambition; the bigger or more innovative the project, the more it became difficult to complete to the desired effect or standard. As mentioned previously, Oetterman states with the final demise of the panorama “the publics attention turned to the single-projection cinema” (Oetterman, 1997, p85.) It became easy to see that cinematography was making revolutionary strides towards captivating the world similarly to Barker’s panorama. Grau states “Like the panorama before it, film began by replicating what could actually be experienced to establish its potential as a medium” and this could be seen through the display of Arrive´e d’un train en gare le ciotat (1897) by the Lumière brothers, August and Louis. The film displayed an approaching train (fig.23) in which the audience reacted with screams of panic, attempts to run away and fainting (Grau, 2007, p151.)
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The Digital Revolution 3.0
The Digital Revolution 3.0
The Digital Revolution
3.0
“The digital revolution“ can be defined as the period, usually stated as established in the late 1970’s, in which the development of technology advanced from mechanical and analogue to digital. The introduction of transistors led to the development of advanced computer systems and the Internet which has had major societal impacts. The technology improved communication and information storage for example, with the average lifestyles and jobs in the present day being integrated with an aspect of digital technology.
The legacy of the Panorama
3.1
Today, the word ‘panorama’ is widely referenced to as a type of image, created when a sweeping motion take several images in a sequence and is then stitched together by the device, most typically a smart-phone or photography camera (fig.24) The idea of panoramic photography originates in 1848 with several photographers aligning several daguerreotypes, the first photographic process, to form panoramic views (fig.25) To draw reference to the works of Barker, one would refer to the original panorama as ‘panoramic paintings’ in a present-day context to avoid confusion.
24 - An example of a ‘Panoramic photo’ which can be taken on most smart-phones and cameras.
25 - An example of a Daguerreotype photo panorama – View of Cincinatti by Fontayne and Porter.w (1855)
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The Digital Revolution 3.0
The International Panorama Council (IPC) was established in 1992 by panorama enthusiasts in Szeged, Hungary (IPC, 2018) with the purpose to continue research and promote existing and potential new panoramas. It is currently governed by a member elected executive board, with executives based around the world, currently led by their President, Prof. Seth Thompson. The IPC is a not-for-profit organisation and is formed of a global network of historians to artists to students. Their main aim with preserving existing Panoramas is to achieve international recognition and protection from UNESCO (The International Panorama Council, 2018.) To understand to current day presence of the Panorama, the following table (fig.26) shows those which follow the original format, dated until 2006, that still exist and are being exhibited today (Rombout, 2006.)
Name
City
Country
Date of creation
Refurbished/ Moved?
Wocher-Panorama
Thun
Switzerland
1814
Yes - 1958, 2015
Panoramic View of the Palace and Gardens of Versailles
New York
USA
1818
n/a
Sattlers Salzburg-Panorawma
Salzburg
Austria
1829
n/a
Panorama Mesdag
The Hague
Netherlands
1881
Yes - 1986
Bourbaki Panorama
Luzern
Switzerland
1881
Yes - 2000
The Gettysburg Cyclorama
Gettysburg
USA
1883
Yes - 1962, 2008
Tyrol Panorama Museum
Innsbruck
Austria
1896
Yes - 2010
The Feszty Panorama
Opusztazer
Hungary
1894
Yes - 1995
The Panorama of Raclawice
Wroclaw
Poland
1894
Yes 1985
The Jerusalem Panorama of the Crucifixion of Christ
Altotting
Germany
1903
n/a
Panorama 'Defence of Sebastopol 18541855'
Sebastopol
Ukraine
1904
Replicated 1954
Panorama of the Battle of Waterloo
Braine l'Alleud
Belgium
1912
n/a
Panorama of the Battle of Borodino
Moscow
Russia
1912
Yes - 1962, 2008
Panorama of the Crucifixion of Christ
Einsiedeln
Switzerland
1962
Yes
Pleven Epopee 1977 Panorama
Pleven
Bulgaria
1977
Yes
The Peasants War Panorama
Bad Frankenhausen
Germany
1989
n/a
Panorama of the Taking of Jinzhou
Jinzhou
China
1989
n/a
Panorama of the Battle of Jinan
Jinan
China
2002
n/a
Fletcher's Mutiny Cyclorama
Norfolk Island
Australia
2002
n/a
The Wilpena Panorama
Hawker
Australia
2002
n/a
26 - Original list found in the book “The Panorama Phenomenon” – additional information such as refurbishment dates provided by author.
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a small yet steady attendance due to their historical presence and importance but are arguably not the spectacle they once were, evidently shown by the lack of new panoramas built during the initial establishment of the digital revolution from 1950 to 1970.
It is indeed interesting to see that, despite sparsely, the original panoramic format had continued to be created up until 2002, with interest growing in China and Australia. The Velaslavasay Panorama in Los Angeles, USA, not shown in the table due to being closed, is the only space which is currently producing painted panoramas (fig.27.) Most Panoramas created before the end of the 19th century required either rehousing or restoration, and in doing so became better integrated into the developing surrounding, mostly town, fabric with modern rotundas being built. It could be assumed that all surviving instances of the Panorama have
Despite the lack of panoramas in the “digital revolution”, artist Werner Tubke continued to use the medium. His work “Panorama of the Peasant Uprising” utilised the original circular panoramic format but neglected the need for “strict realism”. It did not use illusionistic qualities but utilised the 360-degree canvas to evoke his artistic vision of “the end of the world”; a political standing. Despite being commissioned by the German Democratic Republic (GDR), Tubke was not one to promote or participate in superficial propaganda. The 450th anniversary of the Peasants War in 1524-1525 led the GDR to appoint Tubke to reflect on the “first bourgeois revolution”. Tubke’s work was basically used to reinforce the notion that the country
27 - The Velaslavasay Panorama- Effulgence of the North; not currently being displayed. (2007)
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different seasons and the procession of battles that occurred, delivering powerful atmospheric imagery and emotion in doing so. The size of the panorama was huge, measuring 123 meters in length and 14 meters in height and opened in 1989.
was celebrating its founding (Gillen, 2011, p100.) The panorama intended to effectively portray the struggle of the heroic peasants, to increase historical awareness and potentially fuel interest in the importance of patriotic education. However, Tubke resulted in creating a piece which depicted the crumbling state, presenting a pessimism towards the need for portrayal of the “ideal revolution”. To create the scene and recreate his interpretation of the tale of events, Tubke devised a “pictorial formula” which was formed from a “tipped up” parallel perspective and a central perspective located in the top quarter. The central perspective create the illusion of endless depth and the use of the tipped up parallel perspective in the foreground and middle ground allowed Tubke to follow medieval symmetrical properties which evoked a “highly evocative sense of space” (ibid, p102) Several scenes were created and integrated into the set of perspectives (fig. 30) ruling to allow the pictorial formula to flourish. The scene depicts
28 - A closer look at the Fountain of life, seen within the Peasants war panorama. (1989)
29 - A closer look the figure of christ in judgement day seen within the Peasants war panorama. (1989)
30 - A photo taken of the Peasants war panorama, Bad Frankenhausen, Werner Tubke. (1989)
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The Digital Revolution 3.0
New immersive technology
3.2
The digital revolution has brought many innovations to immersive technology, with an aim to provide a large-scale level of entertainment for many to enjoy at once. With potential consumers seemingly becoming content with the use of viewing movies from the comfort of their homes through VHS (1970s) to DVDs (2000s) to online streaming (Present), there are consistent attempts at drawing those consumers back to the cinematic format. Usually through different viewing experience crazes and trends which enhance the immersive experience, new systems become established and built upon depending on their success.
31 - A size comparison of the standard cinema film format, against the IMAX film format
much larger. To compare, the average standard cinema screen size measures 5.8 meters high by 12.8 meters wide. With such dimensions, the screen effectively fills the viewers field of vision, with the intension to increase visual impact through immersion. To further extend the ability to create immersion, IMAX created hemispherical screens within domes measuring up to 30 meters in diameter, a completely unique concept at the time of its establishment (fig.32.) Several innovations followed, with examples such as 3D technology, advanced sound systems, digital remastering and 48 frames per second having been integrated within the past 20 years.
The creation of the IMAX format came after a desire to achieve wider projected images to increase the visual impact of the cinematic experience. Graeme Ferguson, Roman Kroitor, Robert Kerr, and William C. Shaw developed the first IMAX cinema projection standards in the late 1960s and early 1970s in Canada. After experiments with multiple smaller screens to create this impact, successful results came with one single large screen (Brain, 2001.) The process of the format increases the standard resolution of a 35mm film frame diagonally by three times, which in results in a resolution of around 12K; the highest resolution domestically available is 4K which expresses the difference in what the format is offering (fig.31.) To maximise the use of such a resolution, the theatres would require gigantic screens measuring 16 meters high by 22 meters wide on average, with some iterations being
The success of the IMAX is evident, with 1410 theatres implemented with the format in over 66 countries worldwide (IMAX, 2018.) Despite its popularity, certain viewers continue to debate over how much of a superior experience it really is compared to the traditional cinema screenings or even through watching at home. Charles Acland suggests the IMAX presents a “panoramic
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32 - A diagram of an IMAX dome with annotations
Before retrofit
After retrofit
and the gigantic screens was not feasible. Most cinemas that use the technology feature smaller than the original IMAX screens, have rows closer to the screen and use digital projectors as opposed to the original (fig.33.) This was the method used to implement the format into original cinemas but has since been dubbed as “LieMAX” by viewers and critics due to its intention to recreate the experience of the original (Ronca, 2015.) By focusing on digital technology and distancing away from the giant screens, it allowed the IMAX Corp to expand globally at speed, but by also leaving the viewers unaware.
realism” whilst also the creation of a “hyper-presence” is achieved through the “induced sensation of travel” portrayed through intensified simulations of motion regarding “camerawork, rapid travelling movements and the use of dizzying heights” (Acland, 1998, p 435.) This experience becomes thrilling for some, but sickening and uncomfortable for others, similarly to that of the initial reception of the panorama. The IMAX experience is revolutionary in terms of what it provides, but to retrofit cinemas to provide the full experience
29
33 - A diagram showing the retrofitting process of standard cinemas to integrate digital IMAX, also known as ‘LieMAX’
The Digital Revolution 3.0
such as water sprays, smoke effects and different scents could cause discomfort when stuck within a chair and may also distract the viewer from the film altogether (fig.35) There have been many short-lived crazes within the audio-visual industry, mostly relating to enhancing immersion through curved screens and 3D imagery. Naming the experience as ‘4DX’ plays on the idea of adding a fourth dimension through these additional effects, which could potentially trick viewers into thinking it is more revolutionary than it may be, when our brains are not trained to see or comprehend ‘a fourth dimension’ (Edmonds, 2010.)
With the IMAX viewed as the most successful progression to the postmillennial cinema experience, technological progression continues to bring new systems to increase the factor of immersion, those of which only a few have managed to become established in a handful of countries around the world. Korean company CJ 4DPLEX have currently established large contracts with theatres around the world to retrofit hundreds of theatres with their two innovative experiences. The first is Cinema 4DX, which comprises of seats (fig.34) which move in relation to motion experiences within the film and atmospheres created by scents, lighting, sounds and temperatures within the theatre setting. The seats can produce several different effects with the intention to really place the viewer within the movie thus following the action of the movie at the same tempo throughout and becoming a more captivating experience (CJ4DX, no date.)
35 - Image showing a spray test within the Cinema 4DX environment
The second technology is ScreenX, a 270-degree viewing experience which involves adding projection to the left and right sides of a standard cinema screen to, once again, increase immersion and fill the viewers field of vision (fig.36) This is possible through additional viewing angles within the production of the movies themselves, with CJ 4DPLEX being partners with many studios to allow this vision to become a reality. Most of what would be seen in the additional projections would add to the main scene but would not necessarily force the viewer to become distracted between each screen, maintaining a central focus.
34 - A diagram showing the motion abilities of the Cinema 4DX seating
It could be argued that such an immersive experience would not be enjoyed by all, with the idea of seat movements in changing atmospheres perhaps comparable to that of a rollercoaster or a helicopter flight in which the user is strapped in and unable to leave. Effects
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36 - A promotional image for ScreenX, depicting an enhanced immersive viewing experience
In 2018, after partnering with the cinema chain Cineworld, ScreenX stands to be installed in over 100 locations around the world. It is possible that viewers would raise questions over the necessity of additional screens to view parts of the film that are not vital to the storyline.
37 - An exploded diagram of the Oculus Rift headset, a pioneer in VR techology.
Virtual Reality (VR) is an experience which utilises computer technology to create a simulated three-dimensional environment of which a viewer can interact with and explore. The environment is normally viewed through two Fresnel lenses, which are focused on a screen within a headset and is placed on the viewers head (fig.37.) The screen displaying the threedimensional environment is either linked to a computer reproducing the graphics or can be displayed rather simply using a smart phone (Strickland, 2007.) The use of VR creates the sense of telepresence, being that interactivity is possible within its immersive nature, leaving a viewer unaware of their actual surroundings. The impression of a living environment is created through the panoramic view and sensorimotor exploration (Grau, 2007, p7.)
Instances of Virtual Reality date back to 1956 through a device called the Sensorama (fig.38), where users could experience 3D video, audio, vibrations and smell within a booth (Beqiri, 2018). Since then, applications of virtual reality technology were mainly utilised for flight simulations and video gaming. In 2010, a prototype for the Oculus Rift was created, a head mounted device which produced graphics with a 90-degree field of vision whilst relying on computer processing. The prototypes success sparked a large revitalised interest in VR. Since 2014, with the introduction of devices such as Google Cardboard (fig.39), Samsung Gear VR and Sony’s PSVR, VR became widely available, easy to access and very affordable depending on the features required.
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36 - A promotional image for ScreenX, depicting an enhanced immersive viewing experience
With regard to immersion and illusion, Grau states “the interface is key to the media artwork and defines the character of interaction and perception (Grau, 2007, p198.) Through blurring the boundaries of the real and the artificial in the digital world, virtual reality creates a “profound feeling of embodied presence which results in an emotion state of being which is heightened” (ibid, p198.) It can be said that the “technical illusion” alludes to a “mechanism of suggestion” present in panorama, film and all illusion-based media.
39 - The best-selling VR viewing device, the Google cardboard.
The VR field is constantly developing, with new ways to interact and uses for the technology discovered every day. In comparison to the cinema and immersive cinematic experiences, VR provides the user with the power to convincingly experience a new reality, one that they can choose and change to their own needs. One has the power to explore and interact as opposed to feeling trapped and dragged along like that of the 4DX format. It is arguable that the first-person immersion created by VR reigns superior, but in doing so restricts the ability to
40 - Gameplay for the game ‘VRChat’ where users inhabit an avatar and interact online through VR headsets and controllers, with the possibility of full body tracking.
The Digital Revolution 3.0
stage of integration within immersive technology, despite being currently seen as an alternative viewing experience. Even if VR does “take over”, the cinemas decline will not be a swift as the decline of the panorama due to its establishment through the “digital revolution”.
share these experiences with peers and share a mutual involvement because of the use of personal headsets. Although it becomes possible to interact with peers within the software through internet accessibility (fig.40), each experience would be different based on the viewers involvement and viewpoint. However, it creates a vastly unique experience for each user and allows for people from around the world to interact on a detailed level. Overall, the success of telepresence has established VR as a convincing medium to pursue, with accurate simulation of relatable interaction being a key factor.
The IMAX theatre allowed us to experience a “panoramic realism”, with intense thrilling scenes based on the principle of improving the format scale and quality; a task in which it exceeded tremendously and it can be seen as the height of the ability of the current cinematic format given its establishment over the past 40 years. Despite the IMAX’s “short-cut” integration into the expanded field, its principles lay similar to Barker’s direction for the panorama, by providing an immersive and accurate experience and negating on novelty innovations. Despite this, Virtual Reality is now the natural successor; its ability to blur the boundaries through the real and the artificial has hit heights that the IMAX and cinematic variations failed to do so. VR responds to the observers line of vision, similarly to the cinema, in the most immersive stand point ever attempted, physically blocking out the real world. Lastly, its responsibility as a medium to educate must not be forgotten; it provides the ability to place an observer in new environments, such as historical, military based and so on. However, the capabilities of sources on the internet to produce unreliable content for the medium is a danger, a current problem observed through the internets capacity to grant any user a platform to express. It has to be hoped that content for VR is produced from an authoritative source to enable its firm establishment in viewing experiences.
The innovations of the digital revolution play a direct parallel with the lifetime of the panorama and its variations. By appointing Barker’s panorama and the Lumière brother’s single projection cinema as the spearheads of their generations, the innovations that followed each can be seen as attempts to improve upon existing principles through the use of “novelty” to increase the power of illusion and immersion within each medium. This can be seen as a comparison between the developments of the panorama (Moving panorama, Diorama, Cineorama and Mareorama) and the modern “digital revolution” developments of the cinema (3D imagery, IMAX, Cinema 4DX and Screen X.) The utilisation of novelty atmospheric effects and movement within seating of Cinema 4DX revisits the designs of Diorama, Mareorama and Cinerama, thus raising the question, has our ability to increase the capability to fully deceive one to be immersed into a false reality actually changed through the “digital revolution”? The recent developments and wide praise of Virtual Reality as a medium suggest that we are about to reach a new
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The revival of the Panorama
3.3
His depiction of ancient Rome eventually went on to be displayed at the Art and Exhibition Hall of the federal Republic of Germany; a significant feat that would lead to a long line of ambitious yet successful panoramic portrayals. To display, he recreated the experience of the rotunda, allowing observers to walk around and observe the depiction of Rome. Asisi’s fascination with the artistic space provided by the panorama led him to continuously develop the scene of Rome with he potential for a larger exhibition, with Asisi understanding that the panoramic depictions of history will never be finished, and will continue to incorporate new details (ibid, p12.) After going through years of alterations and having been displayed in three different venues of which he created, “Rome 312” remains to be one of Asisi’s most successful pieces.
Although the progression of immersive technology continues to develop at a swift rate with Virtual Reality, the original circular panorama has not been left behind entirely. With the work of the IPC and other individuals, the closest revival of the panorama was led by architect and artist Yadegar Asisi. Asisi, an Iranian born in Austria, was ignited with an interest in Panoramas as an architecture student, which eventually evolved into being involved with Panorama exhibitions, working as a scenographer (Charbonnier, 2016, p26.) Having studied as both an artist and an architect in a divided Berlin, Asisi drew inspiration from Werner Tubke’s Peasants war panorama, appreciating Tubke’s use of the “pictorial formula”. He then went on to propose his vision to curators of reproducing a “circular painting” or panorama of ancient Rome, based on the Bundeskunsthalle Bonn designed by Bühlmann and Wagner in 1888 (ibid, p26) He chose the format of the panorama highlight its relevance and ability, given people were not widely familiar with the format, thus arguably, bringing the panorama back to life.
Asisi methodology in producing his works is unique but draws from many traditional artistic principles and the modern-day technology. The process begins with research; historical artistic media of the desired scene is gathered thus providing a basis to work from and contributions from historians and archaeologists. For the panorama of Rome 312, Asisi could work with the previous panoramas created by Bühlmann and Wagner of the ancient city (Plüschke, 2014, p28.) Research trips bring an insight to the actual site, with Asisi usually taking many trips to explore and situate his work accurately. A vantage point is established on site in which acts as the main viewing perspective for the
41 Screencap showing the scaffolding used to create vantage point
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The Digital Revolution 3.0
details to ensure historical accuracy. Sometimes this would involve printing an element, redrawing and painting by hand, before scanning and manipulating within the graphics program several times to achieve the correct composition and interplay between light and shadow (Charbonnier, 2016, p33.) After the digital canvas is finished (fig. 46), the work is printed on to fabric. It is usually a tense moment for Asisi, given he cannot experience the work at the desired size until it is fully printed and hung. Having now produced several large panoramas, Asisi had his own manufacturing line where 40 rolls of fabric is printed and sewn together (fig. 43) over six weeks to produce a 2500 square meter canvas; the largest standardised panoramic canvas ever attempted. (ibid.) The fabric altogether weighs 500kg and requires specialist tools to secure into place. Asisi displays the majority of his works in old gasometers, providing an innovative solution to utilise the space to its full capacity. Along with the imagery, Asisi works with composer Eric Babak to further bring the panoramas to life. The soundtracks are theatrical and mainly consist of orchestral music using ancient instruments. To simulate elements of activity, the soundtrack is combined with everyday noises of animals, people and weather to enable a specific atmosphere to be experienced. (PlĂźschke, 2014, p32.)
42 - Screencap showing Asisi capturing actors re-enacting scenes on site.
eventual panorama viewing platform. From this vantage point, with the help of actors, the historic scenes are reenacted and photographed (fig.41 & 42) (Charbonnier, 2016, p33.) The next stage is the formulation of all gathered media and where the artistic culmination takes place. Through initial perspective sketches (fig. 44), Asisi can begin to form his horizon, inserting various scenes and landmarks as he tediously makes his way through the landscape. Through the use of 3D modelling, old temples can be reconstructed based around the research taken and inserted in the right perspective and utilising the desired lighting. Colour studies are tested through initial watercolour paintings and then transformed using computer graphics to attain a photo-realism (fig 45.) The various photographs taken on site are situated within the work, suggesting interaction and activity. The overall picture can be broken down into these aspects; broad foreground to create depth, image layers which peel away to reveal scenes of interaction, scenes of lower activity to occupy the lower quartiles – where observers can approach the image (Plßschke, 2014, p30.)The process is tedious, with Asisi spending medial amounts of time perfecting miniscule
43 Screencap showing printed fabric laid out to be stitched together
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44 - A compilation of images taken by the author of Asisi’s intial perpestive sketch of the Rome 312 panorama, exhibited in Rouen’s Panorama XXL (2018)
45 - A compilation of images taken by the author of Asisi’s secondary stage compilation of sketches and imagery of the Rome 312 panorama, exhibited in Rouen’s Panorama XXL (2018)
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which creates a long-lasting impression” (Franke, 2014, p22.)
For Asisi, the main goal of his work is to “make a sense of life palpable” (Charbonnier, 2016, p46.) He constructs his works not only as a painter or an architect, but more so as a novelist or a filmmaker utilising the scene to tell a story and create an atmosphere, with an aim to “provoke feelings in the observer” (Franke, 2014, p21.) He states, “we experience space only when we stand still and inhale it” and that “motion is not important for spatial perception” (DW, 2011.) Asisi embraces the “stillness” produced by the panorama as a medium and uses this property to deliver the idea that spatial impression is something we interpret differently and at different speeds, and as a result should not be defined by motion or by a duration of time. The interpretation of the work could have an observer looking at the work for five minutes or for an hour and notice and come away from the work with a new impression or new detail each time. Asisi states “the panorama represents a sensual experience of the whole body
A characteristic of the panorama is that it allows the observer to gaze, and it is down to the scene to stimulate and activate this gaze. In Asisi’s works, his years teaching the principles of perspective has allowed him to portray artistic spatial illusion to captivate this gaze, in which he allows multiple narratives to co-exist within one landscape. He employs a “painterly process” using contemporary tools, whilst simultaneously acting as a novelist or a filmmaker to frame and evoke an emotive scene. Throughout the process, despite manipulation of a true perspective from the viewers standpoint, it can be seen that Asisi values the factual accuracy of his works and also avoids ideological aspects. Asisi has produced several panoramas (fig.47), with the main themes being extraordinary aspects of nature and the “readability of human development” seen
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46 - A compilation of images taken by the author of Asisi’s final imagery of the Rome 312 panorama, exhibited in Rouen’s Panorama XXL (2018) Name
Date of creation
Theme
Intial location & Recent location
Everest
2003
Nature
Leipzig, n/a
Rome 312
2005
History
Pforzheim, Rouen
Baroque Dresden
2006
History
Dresden, Dresden
Amazonia
2009
Nature
Leipzig, Rouen
Pergamon
2011
History
Berlin, Berlin
Die Mauer
2012
History
Berlin, Berlin
Leipzig 1813
2013
History
Leipzig, n/a
Great Barrier Reef
2015
Nature
Leipzig, Pforzheim
Rouen 1431
2016
History
Rouen, n/a
Luther 1517
2016
History
Wittenberg, Wittenberg
Titanic
2017
History
Leipzig, Rouen
Carola's Garden
2019
Nature
Leipzig, Leipzig
47 - Table documenting a list of Asisi’s panoramas.
Panorama XXL in Rouen and portrays heroism and execution of Joan of Arc. The panorama of Leipzig in 1813 depicts the battle of the nations and was displayed in Panometer Leipzig. The most current and sensitive example is Die Mauer (The Wall), a panorama exhibiting the divided city of Berlin in the 1980’s (fig.48.) Die Mauer was unveiled in 2012; initially a temporary
in historical city vedutas (ibid, p21.) In the theme of nature, scenes range from being lost in the Amazon rainforest, to the depths of the Great Barrier Reef and then to the peaks of Mount Everest. In the theme of history, scenes respond to the locations in which they were initially exhibited. For example, the depiction of Rouen in 1431 was displayed in the
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48 - Image of observers looking towards Asisi’s panorama of ‘Die Mauer’
living around the border “as if the division were normal” (ibid, p136.) Famous Berlin Wall author Peter Schneider states the panorama “presents the drama of the former border system so well that all other memorials created after the fall of the wall pale in comparison” (ibid, p136.)
exhibit, it has become somewhat instilled in its home at Checkpoint Charlie (fig.49), a location popular with tourists (Sonnevend, 2016, p135.) Measuring 60 meters in length and 14 meters in height, observers find themselves on the Western side of the border control regime in a typical day in the 1980’s. With all of Asisi’s panoramas, his depiction does not observe the activities or settings of one day, but more so a “condensation of different moments of time” surrounding the wall. Before entering the panorama, observers walk through small exhibits showing original vivid pictures and videos of the protests against the newly built walls and fences. Understandably surprising to many, despite the intensity of the theme, the panorama portrays the normality of everyday life, with people
It can be said that it takes a lot of imagination to envisage that 30 years ago the Berlin wall stood in the same location as the panorama, a great example of how quickly a city can change and become unknown to those who did not experience it. Asisi’s utilisation of the panorama allows one to observe such a tense topic in a peaceful retreat, allowing you to take in information at your own pace, creating and envisioning stories from what you see. The contemporisation of the panorama in these instances present the modern day with an immersive tool to provoke thought, create intrigue and evoke emotion, without the use of overwhelming immersion. The power of illusion no longer relies on staging and lighting but lies within the power of the artists composition and ability to express a story about everyday life in context.
49 - The approach to Die Mauer a former gasometer converted.
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Old meets new 4.0
Old meets new 4.0
Investigation
4.1
This research will allow me to construct a critical analysis and comparison of the traditional and contemporary media in which they will both be evaluated against assessment criteria born from the research of the principles of the original panorama, as discussed in earlier chapters. These criteria consist of the following:
To further investigate the influence and presence of the panorama in the present day, I decided to gather firsthand research, by visiting two types of panorama; traditional and contemporary. For traditional, I have chosen the Panorama Mesdag in Den Haag, The Netherlands. This was due to its known popularity among the panoramic world and its use of traditional panoramic techniques which lie close to that of Robert Barker; The desire was to have an authentic panorama experience without the use of novelty to properly contextualise the historic accounts.
The use of Illusion The use of illusion concerns the panoramas ability to “stimulate the observers gaze” using the panoramic artwork itself. This can be assessed through the use of perspective, the use of colour, the use of artistic direction, the degree of realism, and overall use of space or canvas. This category ignores the ability of additional sources of immersion but understands how it may work with them, with the focus always on the panoramic artwork itself. Is the idea of what the contemporary illusion represents enough to bring in visitors compared to its original panoramas past promises of being teleported to an exotic destination?
Regarding contemporary, I have chosen the most accessible of Asisi’s panoramas to England, which is the Panorama XXL in Rouen, France, which will be exhibiting Rome 312. The reasoning to visit this particular exhibit lay with my fascination of wanting to see, in person, how Asisi’s artistic spatial creativity could create an emotive narrative using a historical scene, especially after noting that he had been influenced by Werner Tubke’s Peasants war panorama. It was also important to me to understand how the town of Rouen responded to the panorama; I wanted to see how popular such an exhibit would engage with an area that does not have the highest population of tourists. To document my experiences, I have filmed the routes and views observed throughout the process, whilst simultaneously taking pictures and recording a diary of written thoughts, taken on the spot, with the aim to reflect on these thoughts when comparing.
Experience and participation The experience and levels of participation or activity within a panoramic space can influence the overall impression and illusion of the panoramic experience as much as the artwork itself can. The quality and suitability of such aspects like the dark passages, viewing platforms and distance from the canvas will be observed. Participation, in this sense, can
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Old meets new 4.0
Through these criteria, I aim to uncover the aspects of the traditional panorama that prevail within the contemporary editions. These parallels will be drawn with my earlier research and will instigate the idea of why we are potentially still utilising old techniques of illusion and immersion despite having been “revolutionised” by digital technology. I will also assess the viability of panoramas potential re-establishment as a medium in the present day, whilst also understanding the presence of its “digital revolution” immersive competitors such as Virtual reality. Is Asisi’s panorama an economically viable tool to bring in tourism and interest to a declining area? Are there profits to be seen? Will VR eventually lead to the end of the panoramic revival? Or is the revival of the panorama of cultural interest only, concerning education and delivering and interest in information, a task dominated by access to the internet?
be defined as how much the panoramic medium instructs an observer towards a particular experience; as opposed to allowing for free interpretation. Immersive captivation
devices
and
sensual
Immersive devices can be considered to be methods of lighting (real and artificial), sound effects, faux terrain, props, staging, smell and so on. I aim to access the contribution of these devices to sensually captivate the observer. Overall, I want to understand if this power to immerse has at all advanced, giving it a viability in the present day as a worthwhile experience. Having documented the immersive devices of panoramists Hornor (Colosseum), von Werner (Sedan), d’Alesi (Mareorama) and Grimoin-Sanson (Cineorama) and then modern features of Cinema 4DX, IMAX and Screen X, it is possible to pinpoint the parallels in innovative development between the time periods and will give me the basis to provide a contextual comparison.
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Old meets new 4.0
Panorama Mesdag
4.2
This panorama depicts the fishing village of Scheveningen, painted by Hendrik Willem Mesdag, a Dutch marine artist. Created in 1881, it is considered the most well-known existing Panorama in Europe. Vincent Van Gogh, a friend of Mesdag, upon visiting, commented “The only fault of this painting resides in its being faultless.” (Hyde, 1988, p202) In principle, Van Gogh’s bold statement provides an authoritative approval of Mesdag’s work, It can be argued that the approval allowed the panorama to continue to generate a large number of visitors (ibid, p202) and this is can also be said to be due to its reputation and large efforts to restore the painting in 1986. In doing so, it has become a treasured historical spectacle in the town in which it was created, resonating within the local people (fig.50.)
The use of Illusion The panorama was painted within the building whilst the canvas was already hung. The radius is 14m, with a total height of 14m. The circumference is 120m which is comparatively average compared to its historical counterparts observed earlier. The painting uses a singular horizon line to portray an accurate depiction of the view from the vantage point, comparatively to the works of Robert and Henry Aston Barker, with a perspective accuracy remaining an important principle. It there are no vistas of the image that are overly intense or exaggerated; the focus is always directed towards keeping the illusion believable. It is easy to instantly to place yourself within the scene and understand your viewing distance from the scene as the scale of architecture would dictate from the horizon line. The figures shown in the scene are in the background towards the tide, therefore leaving the foreground and boundary between the painting on the beach faux-terrain quite lifeless. Without the presence of fellow observers, the severe lack of activity may aim to portray a peaceful atmosphere but can equally be seen as lifeless as a result. Personally, the intrigue in this scene is created from the power of its initial realism and illusion; after noticing faults with the image I did not find my self-captivated with the scene or any intended narrative described by the audio tour or the information plaques.
50 - The façade of the Panorama Mesdag entrance building.
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Old meets new 4.0
The overall colour palette of the painting is not intense and therefore an initial immediate focus is drawn towards the lighting and not the detail of the painting. This allows for a softer observation given the focus is gradual and not overwhelming. However, referring to Grau, the illusionistic effect does indeed decrease the longer one spends in the space. (Grau, 2007, p106.) After 15 minutes, my ability to “relativise perception” returns and I start to notice and focus on the defects of the painting.
Experience and participation The entrance was formulaically traditional; straightforward and simple with the transition of the dark corridor (fig.51) to subtle light (fig.52) created within the light canopy above the rotunda (fig.53) An optional audio tour guides you through the history of the scenery whilst also providing vital facts on the building and its creation which compliments the whole experience. It is not crucial to listen to; any direction of approach to the image will allow you to constantly find yourself lost among the new distant details of the beach. The simple design makes navigation easy being that the space is refined and small, but also compliments the geometry of the panorama itself. It becomes easy to observe everything without disturbing your field of vision (fig.54 on next page) thus effectively feeling immersed within the scene. The preservation and display of the light cylinder used to create the panorama is a good tool to allow the viewers to understand how the panorama was created; it gives the painting more value towards exhibiting the effort put in towards such a time-consuming feat (fig.55.)
51 - Entrance Still 1 – Dark corridor
52 - Entrance Still 2 – Light emerging from the stairs
53 - Entrance Still 3 – Fully emerged, immersed within the scene
55 - Original light cylinder
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Old meets new 4.0
Immersive captivation
devices
and
sensual
The Panorama Mesdag essentially captures a peaceful moment and this is emphasised by the lack of sensual immersive devices. The panorama utilises simple and subtle design considerations help bring the panorama to life. The natural light fled through the roof windows which would consistently maintain an atmosphere all year round 57 Canopy of the viewing platform – ambient light within the viewing platform but strong natural lighting directed at the scene.
56 Subtle nature of the painting
(fig.56 & 57.) A simple soundtrack of noises from a standard beach or port are used on a loop. You can hear people, boats, seagulls and waves crashing. The scene depicts one time of day, assumed to be noon. Enhanced lighting focuses on the most active part of the scene, the boats departing. Lighting provides simple focus without unnecessary colouring. The rotunda railing defines the space that you are refined to but in doing so provides a framing device for the scene (fig.58.) You can instantly place yourself in context without trying too hard to imagine given that the scene does the work for you. The use of the rotunda and railing along with props (fig. 59) and the “faux terrain� beach is comparative to the techniques of the Barkers, Hornor and von Werner; all with an understanding that framing the viewing platform distance
Old meets new 4.0
54 Panorama photo taken within the Panorama depicting the flow of vision within the viewing platform.
with contextually relevant staging and props would heighten an illusion and as Grau states, in relation to the Sedan Panorama, “pull the observer into the depths of the image space” thus removing any boundaries created from seeing the perimeter of the painting. (Grau, 2007, p97.) The panorama uses the subtle and traditional aspects to captivate an observer, but it does not appeal to all senses, focusing mainly on sight and hearing; just as the majority of panoramas could. The painting itself depicts the activities and peaceful nature of Scheveningen, but it did not provoke me to think; I was relatively comfortable understanding exactly what I was seeing, linking to the familiarity of memories of being at a beach. It must also be argued that for a panorama to be sensually captivating, does it need to provoke one to think? Or can it simply evoke a calm aura? Through reminding me of my memories of the beach, does it allow me to satisfy my neglected senses? I am inclined to say yes but only in a subtle manner. Given the historical context when initially exhibited in many locations, it could definitely be argued that an observer’s memory triggered by the vision would have been much more resonating, with the lack of visual media available in the 1880’s.
58 - Rotunda railing – the barrier between the panorama and viewing platform.
59 - Props in the scene, set into the “faux-terrain” lifeless or peaceful beach, depending on your interpretation.
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Old meets new 4.0
Panorama XXL
4.3
This panorama displays the ancient city of Rome in 312AD (shown previously in fig.46), having been interpreted and digitally recreated by Yadegar Asisi as described in chapter 3.3. Originally created in 1993, the work has undergone several improvements and adaptations before then reprinted on the high-quality canvas in which it is hung. The rotunda is purpose built (fig.28); a light metallic structure with two set of tracks holding the canvas in place at the top and the bottom, the rotunda is covered with painted cladding for insulation. Located on the Rouen quays, it is a few minutes’ walk from the city centre and famous monuments such as the Rouen Cathedral. This new bold addition was opened in 2014 and is currently being funded by Metropole Rouen-Normandie (The local city council.) It intends to bring in tourists and increase jobs in the area in the process.
The use of Illusion The image quality varied quite a lot due to the nature of digital manipulation and collage techniques and therefore at points, the illusion become inconsistent. Given that as a highly detailed photomontage there is multiple focuses throughout the piece, it is hard to give a sense of focus at points and therefore the depth of perspective is sometimes questionable, making the image look flat. However, as stated in chapter 3.3, Asisi utilises the artistic space provided by the panoramic canvas to present multiple horizons, therefore creating multiple points of interest within the landscape, with his aims to “provoke feelings in the observer” (Franke, 2014, p21.) As a result, the work has a rich depth of visual information which does indeed allow one to spend long periods of time becoming “lost” within the work (fig 72). I felt as if I could personally respond to the primitive scenes I was witnessing, with Asisi almost granting me the ability to reconstruct these narratives in my head in which I could situate myself and simulate the sensual interaction of which I now desire from the panorama. The combination of photos from the present day with extras, old paintings, models and artefacts and new techniques combined is no small feat but as a result it cannot be flawless, however, the common viewer would not notice this. The photorealistic aesthetic that was aimed to be presented may make it harder to compare to what we experience
60 - Street side view of the Panorama XXL
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Old meets new 4.0
in the present day, with the arguably pristine quality of the monuments shown questionable. The canvas material uses to print the image is very high when considering its age and continuous movement around different venues. Despite this, the closest relatable figures are still three times larger than the observer causing a distorted understanding of the scale of the scene around the observer (fig.61.) My understanding through researching the works of Asisi led me to believe a 1:1 scale believability would have been desirable, however, it was also made clear that getting these details right before printing is extremely difficult, with Asisi not knowing how his work will turn out before seeing it printed and hung.
61 - Confusion of close scale – comparing size of woman to size of door, to the people behind her.
Experience and participation The entrance design differs from Barker’s original panoramic principles behind using a tunnel of darkness to create the initial illusion of uncertain surroundings. Situated confusion becomes irrelevant, due to Asisi’s neglect toward the need for physical or architectural immersive devices. In this case (fig.62 & 63) it was a normal lit corridor that opened into the scene, which was an overpowering contrast. With regards to experiencing the scene, there is no instruction or guide in terms of route. The observer is given
62 - Initial door entrance to the Panorama
63 - Second door in room of darkness
64 - Complete darkness and lighting in main panorama area – entered during a night scene leading to some confusion.
65 - Low level view at night – Dark blue lighting
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Old meets new 4.0
freedom to simply explore at one’s own pace, in any direction. The initial reaction to the first scene I witnessed made me feel sensually overwhelmed through an unexpected combination of dramatic lighting and the orchestral soundtrack. One initially enters the panoramic environment at a random time of day depending on the stage of the cycle (fig.64 & 65.) The multiple scenes taking place simultaneously are described through indepth information leaflets and additional books. As a result, it can be seen that Asisi values the potential educational value of his work similarly to Robert Barker in his method of providing factual information leaflets to further captivate his crowd without resulting to the utilisation of novelty and gimmicks to enhance a panorama. Combined with the ability to construct an informative scene which is not bound by time, positive questions can be asked of the potential as a widespread educational tool, especially given its size in accommodating school children.
66 - Lighting integrated within the viewing platform.
67 - Viewing platform square edges
overall experience as suggested by other viewers; it is most likely that Asisi’s vantage point on creating the panorama was intended to mirror the top floor view. An aspect that I found surprising was the fact the viewing platform is square, when the scene is round. The corners create moments of awkwardness and doesn’t allow for a fluid viewing experience similar to the original platform designs which incorporate physical scenic design
The viewing platform is simple, a square concrete structure of five floors (fig.66.) It has stair and lift access, and four of the five platforms can be used for viewing, with the suggested fifth floor to be used for optimal viewing capacity and best
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Old meets new 4.0
71 - The theatrical lighting during an evening to night transition
68 - Lack of detail or accuracy in foreground, become slightly confusing even if the focus is in the distance.
(fig.67.) There is also unexpectedly little distance between the viewing platform and the print; measured to be around 10.65m. With no barrier between the viewer and the print at the lowest level, whilst also having space to explore as much of the space as possible, it appears that the viewer can get close and personal with the print, as per Asisi’s intentions (Charbonnier, 2016, p27), thus also being able to make out possible faults with the digital manipulated images (fig.68.) Immersive captivation
devices
and
69 Attention to detail – The Colosseum in the distance
sensual
There is great attention to quality and detail of the concept (fig.69), but at no point is any real immersion felt within the framing and viewing platform within the environment. It becomes clear that from the start that Asisi’s plan is to unravel a narrative and to put you in a specific time and a place, but without the need “suspend your ability to relativise perception” and think you have teleported back in time through immersive devices. The ceiling trusses of the building can be seen and there is no buffer between the scene and the roof (fig.70), thus creating an unorthodox contrast, a similar problem created with the required exposed entrance and exit doors around the scene.
70 - Blunt transition between the panorama and the building roof trusses.
51
72 - The temple of Jupiter which represented the centre of the roman world; a centre of power. Asisi’s artistic abilities exhibit his requirement for absolute detail and flowing narrative of a scene. The implication of action or movement within the static image is exemplary of why motion is not needed to define the scenes.
Music is not only used to depicts sounds from the scenes, but also to almost narrate the day in a theatrical manner. Personally, it becomes unnecessary and may it may detract from immersion within the captivating quality of the carefully compiled scenes. The theatrics can particularly be observed during sunrise and sunset, where the lighting and sound effects are in sync to perform an almost epiphany like moment where all life is created, a god like action or presence (fig.71.) Asisi intended to utilise the “stillness” of the panorama to deliver spatial impressions of everyday scenes of life but the combination of detailed populated scenes and heavy orchestral music confuses the senses; an oversaturation of information. For the panorama to become more effective, the music should be more subtle, presenting a much larger focus on the scenes themselves.
It can be seen that Asisi sees a duality with his work, with elements utilising lighting to be revealed during a day scene and then other elements being revealed through a night scene, reminiscent of the Regent’s Park Diorama. The night scene stage creates a darkly lit scene with the static print, but because the print is static, it creates confusion in the sense that through the night, the characters within the scene can still be boldly identified. The projection lighting is very intense, especially with deep colours, which in my opinion should be more delicate, to give more of a chance for the print to speak for itself. The strong blue and orange tinges detract from the scene, so maybe a better focus with the purpose of the lighting would have been helpful. It is a tough task indeed when considering the amount of detail that is being covered by one light, but I believe backlighting more delicately would enhance certain scenes more effectively.
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Old meets new 4.0
A comparison
4.4
the work of Robert Barker in maintaining accuracy and an illusionistic realism through a combination of painting and lighting.
This investigation has allowed me to discover traditional and contemporary panoramic media through first-hand experiences. In doing so. it will now allow me to interpret the capability of their main immersive and illusionistic aspects against each other, which will derive an understanding of which original features are ever-present. It also allows me to discuss the possible lifespan of the panoramic revival.
The development of the contemporary panorama through the “digital revolution” has provided one with the digital tools to closer perfect the panoramic images photorealism and produce panoramas of unprecedented sizes, but also allows the medium to adapt its intentions of illusion. With the accessibility of travel, the contemporary developments to the use of the panorama leads its users to explore extraordinary moments of history or wonders of nature to further utilise the panorama as a tool to educate. Despite its successes in captivating through redefining illusion, the development to the medium does not appear favourable against the establishment of Virtual Reality. VR essentially becomes favourable as a tool to educate and generally discover due to ease of accessibility and existing integration within our lives through the use of our phones, which are essentially the devices we already rely on to provide information. The creation and distribution of digital content will always remain much quicker than the “painterly process” and as a result, it become difficult to see a world where to panorama lives forever.
The use of illusion It remains incredibly difficult to directly compare the XXL and Mesdag in terms of use of illusion due to the difference in their underlying intentions and themes; with the XXL wanting to deliver several simultaneously progressing scenes and Mesdag simply capturing the essence of one scene. Whilst both aim to “stimulate” and “provoke feelings”, both approaches achieve illusion in different ways. Mesdag’s use of the singular horizon to portray and accurate standpoint regarding field of view is used to depict a scene of peaceful simplicity; it does not have to conform to include more. Yet Asisi’s complex layers and use of several horizon lines to create varied depth throughout the image leaves the observer mesmerised at the level of detail. Asisi’s methods of developing the composition of his panorama draws parallels to Hornor’s need to include as much as he could through utilising panoramic chorometry and Tubke’s artistically expressive “pictorial formulas”, whereas Mesdag’s work draws nearly every principle from
Experience and participation Experience and participation in both media were similar and in experience but differed in participation. Both the XXL and Mesdag allow for exploration with
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Old meets new 4.0
secondly through hearing and thirdly through minimal instances of touch, with regards to the railings. The XXL attempts to make the image absolute through the intense theatrics of coloured lighting and orchestral soundtracks to create an emphatic atmosphere. It may appeal to the extravagant taste but the combination of the complex panoramic narrative, the consistently changing lighting and drowning instruments discouraged my ability to “lose myself” within the work at points, notably during the processes of dusk and dawn which occurred every eight to ten minutes. If the illusion is solely based within the construct of the artwork, I find it hard to understand why immersive devices would attempt to compete with them, even if the intention is to only enhance a perception, as opposed to just subtly existing like that of Mesdag. It must be said that immersive media that engages consistently with multiple senses at this scale still does not exist, leaving VR as the most engaging medium at present.
no intended route of discovery and this is because any form of panorama forms “real image spaces” (Grau, 2007, p58); to restrict the ability to explore has the potential to impede on the illusion or the impression the work leaves. However, Mesdag also utilises restriction through the railings on the viewing platform to maintain the level of immersion advertised. The defined boundary of the railing allows the scene to be framed and therefore the observer understands that one is physically participating in the setting. Asisi’s decision to not frame the scene and not restrict the viewer from approaching the canvas allows for an understanding of the scenes at a 1:1 scale but it remains to be seen if a lack of restriction allows one to observe the painting to greater effect. The top of the viewing platform of the XXL situates one in the ideal position to observe at a vantage point but it could be argued that the ability to explore through the different platforms at height and distance allow for new perspectives and new chances to experience over again. Immersive captivation
devices
and
sensual
The sensual captivation of the panorama through the “digital revolution” has not evolved in the slightest and outlines the biggest downfall of the panorama as an immersive medium; but this could be also be attributed to the diversion of the requirements of Asisi’s panoramas. Mesdag suitably avoids the need for immersive devices due to its simplicity and calm natured scene, using only props and a faux terrain to blur the boundaries of the painting and reality. In doing so, an observer finds themselves engaging primarily through sight,
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Conclusion 5.0
Conclusion 5.0
Conclusion
5.0
To conclude, the “revival” of the panorama through the work of Yadegar Asisi reveals how the original panoramic principles of immersion and illusion have been revised to re-utilise the medium in a manner that effectively responds directly to the intricacies of the artist’s scenic composition. Through the use of “contemporary tools”, Asisi is able to create panoramas of unprecedented dimensions in which his “painterly process” produces a scene evoking emotion, life and intrigue into the complexity of the historical themes he explores. As a result, the source of illusion is now defined within the ability of the panorama to “stimulate the observer’s gaze” thus neglecting immersive framing elements which blur the boundaries of the artwork and rely purely on the image to convey its message. The ability to immerse oneself relies on the observer’s ability to “stand still and inhale it”, referring to embracing the panorama quality of “stillness”. The use of the circular 360-degree format remains a core unchanged aspect of the contemporary panorama, with nearly all other principles having been redefined to enable the new interpretation of illusion. Experience through my investigation of the traditional Panorama Mesdag allowed me to understand that despite the passing of 120 years and the “digital revolution”, that immersive technology is still yet to develop and integrate the ability to captivate several senses at once, and I believe until such a feat is possible, the medium of the panorama has reached its limit in terms of offering unique experiences. Asisi wants the user to get close and personal with the canvas and enjoy a “sensual experience of the whole body” to arguably replace this lack of sensual captivity but it must be said that such an experience might not have an enduring appeal depending on the subject matter. Through the establishment of Die Mauer, Asisi sees success through what is considered to be a contemporary historical interpretation or memorial, but can his works amount to more than that on a larger scale? Though the medium may possess an educational value that Barker initially intended and that of which Asisi has reignited, the establishment of immersive technology such as Virtual reality clouds doubt over the panoramas ability to endure a unique purpose which is desirable to be repeatedly accessed and experienced. Despite its unique scale, the time it takes Asisi to construct his work parallels the problems and decline of the original panorama. With digital technology and its content being produced exponentially in a huge global market, it becomes difficult to see a future in which the contemporary panorama can keep relevant.
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Acknowledgements I would like to express gratitude to my dissertation tutor Davide Deriu for his invaluable help and guidance towards writing this dissertation. I would also like to thank my friends and family for their continued support.
Master of Architecture (MArch), RIBA/ARB Part 2 School of Architecture and Cities, University of Westminster [7ARCH023W] Architectural Reflections II: Dissertation
Ethics declaration
Name of student:
VISHAL MISTRY
Title of submitted work:
THE EVOLUTION OF PANORAMIC PERCEPTIONS
Nature of submitted work:
DISSERTATION
Declaration: I understand the University’s Code of Practice governing the Ethical Conduct of Research and confirm that my research has been fully compliant with all ethical requirements.
Signed:
Date: 08/07/2019